Book Description
KEY BENEFIT: Written for individuals who have little or no knowledge of the arts, Perceiving the Arts has a specific and limited purpose: to provide an introductory, technical, and respondent-related reference to the arts and literature.
KEY TOPICS: Intended to give basic information about each of the arts disciplines–drawing, painting, printmaking, photography, sculpture, architecture, music, theatre, dance, cinema, landscape architecture, and literature–the book seeks to give its readers touchstones concerning what to look and listen for in works of art and literature.
MARKET: For arts and humanities instructors and enthusiasts.
Customer Reviews:
Great Replacement for our old book.......2007-01-17
I managed to have this book added as an alternate after fighting for years to teach another text, Humanities Through the Arts. That text had a very bad habit of talking in circles and I spent more time trying to explain the book than I did teaching the course. Our students normally have little to no exposure to the Arts and are easily discouraged. Not only is this little book half the price of the other but it is very straight forward in its approach. If you want a book that offers lots of chapters for testing purposes this isn't it. If you want a book that nails down the basics, especially if you do a lot of group work and use projects rather than test, this text nails down the basics..
Pretty good book.......2005-01-02
I have taught a course on the Humanities using this book, and found it mostly spot on in its specific contents. How to present all of the Humanities using one paperback? But - with just a few exceptions - this presents a good first look and useful rules of thumb in approaching the various disciplines. In areas that are underserved, such as Landscape Art, it actually fills a void. I recommend it and will use it again.
Informative.......2004-01-05
I used this book for my introduction to fine arts class and thought it was very good. Easy to understand and follow, and gave good information straight out without haveing to search for defintions or other stuff.
If it were possible...........2003-11-17
If it were possible to describe this book in stars it would be 0 stars. Here are just a few of the problems found within the text. 1) Writing is boring. 2) Some of the pictures are repeated in the black & white sections. 3) The usage of webpages instead of having illustrations & pictures makes the text boring. 4) No companion website for the web addresses noted.
In other words - it can bore a student to death!
Book Description
For the millions of people who have uncovered their creative selves through the Artist's Way program-a workbook and companion to the international bestseller.
Alife-changing twelve-week program, The Artist's Way has touched the lives of millions of people around the world. Now, for the first time, fans will have this elegantly designed and user-friendly volume for use in tandem with the book. The Artist's Way Workbook includes:
- more than 110 Artist's Way tasks;
- more than 50 Artist's Way check-ins;
- a fascinating introduction to the workbook in which Cameron shares new insights into the creative process that she has culled in the decade since The Artist's Way was originally published;
- new and original writings on Morning Page Journaling and the Artist's Date-two of the most vital tools set forth by Cameron in The Artist's Way.
The Artist's Way Workbook is an indispensable book for anyone following the spiritual path to higher creativity laid out in The Artist's Way.
Customer Reviews:
A Comfotable and Helpful Companion.......2007-06-30
The Artist's Way Workbook is sort of a condensed version of the Artist's Way book. You can use the workbook without reading the book. I have read the book, love it, and would recommend reading it also. The Artist Way in all its forms is a solace for the creative side of everyone and is a fine tool for unblocking creativity.
Artist's Way Workbook Enhances Creativity.......2007-03-17
I really enjoy using this workbook along with Julia Cameron's Artist's Way book. Although I have gone through the Artist's Way before, this time around I thought it would be nice to add the workbook to my exercises.
I am particularly happy using it because I have been doing all the exercises on the computer and finding creative ways to add them to the workbook once I've printed them out. I plan to use the Artist's Way exercises over and over again and so this workbook will be a collection of my exercises over time and a great way to see how I have grown as I look back over it from time to time.
a method to unblock creativity.......2007-01-17
I started working with the suggestions, which are easy to follow. It is exciting to realize there are so many people which have had a lot of succes using it, and are sharing thoughts in special "Artist Way" meet ups. It's like a snowball.
The Artist's Way Workbook.......2007-01-04
You don't need this workbook to get the full experience of The Artist's Way, but it does provide a nice space for your exercises. It's good for an organized person who wants to get the whole Artist's Way package.
An Inspiring Tool You Shouldn't Be Without!.......2006-12-11
After reading and re-reading The Artist's Way: A Spiritual Path to Higher Creativity by Julia Cameron, I was completely inspired to reactivate my passion for writing fiction. For years, after trying to get a novel published, I wrote business related material, yet secretly yearned to return to what I loved most--writing fiction.
In the late 90's I studied the original book, and enjoyed the various tasks that helped to open and expand my creativity. And then in 2003, my life goal came true and I published my first novel. I owe this in part to the lessons and motivational teachings found within the pages of The Artist's Way.
And now, there is an actual workbook that makes everything that much easier to record. This workbook has everything you need to unleash your 'inner artist'--and that means any kind of creativity, whether painting, sculpting, drafting, writing, etc. Many of the activities are short and easy; some you'll find more challenging. But that is the point!
I highly recommend this book for anyone who may have lost their muse, or for anyone who wants to kick it into overdrive! Excellent tool and long overdue! :) KUDOS, Julia!
~Cheryl Kaye Tardif, author of Whale Song (2007 Kunati Books), The River and Divine Intervention
Book Description
Qualifying the ancient Greek saying “Man is the measure,” Gordon Matta-Clark (1943–1978) asserted instead “You are the measure,” conveying the defining theme in an oeuvre that would exert a powerful influence on fellow artists and architects. In artworks that combined minimalist, conceptual, and performative practices, Matta-Clark gave primary importance to the individual and considerations of everyday life. This comprehensive book incorporates important new information from the Matta-Clark archive, presenting a compelling reappraisal of the unique beauty and radical nature of Matta-Clark’s punnings, plans, performances, and interventions evident in the many media in which he worked: sculptural objects (most notably from building cuts), drawings, films, photographs, and documentary material.
The son of Chilean Surrealist painter Roberto Matta and godson of Marcel Duchamp, Matta-Clark trained as an architect. He is renowned for his poignant use of urban landscapes, creating many site-specific works (often outside of a museum or gallery context) in New York and abroad. In this handsome book, distinguished scholars of contemporary art provide new insights into Matta-Clark’s work: the reception of his art during his lifetime; the impact of his socially engaged lifestyle; the production of his films; his photography, in particular his collages that have not been thoroughly explored; the creation and conservation of his building cut
Splitting; and much more.
Customer Reviews:
For art students and teachers.......2007-05-12
This is an excellent book for all those interested in sculpture & architecture
Customer Reviews:
beautiful photographs; beautifully written.......1998-07-13
Ms. Grossman did an excellent job of introducing the reader to the religious side of Jewish culture. As a non-Jew who observes the Sabbath and Holy Days, I found the book to be of particular interest, since I belong to a very small church which has very little in the way of either Sabbath or Holy Day tradition. For this reason I refer to books such as "Jewish Art", since the Jews have such a rich religious heritage -- a heritage which I believe churches such as mine can draw upon for ideas and inspiration. I only wish the author devoted more material to the Sabbath -- i.e., more examples of items used at a Jewish home on this special Day. This is not so much a critism as a comment, since I understand that for most readers her coverage of Jewish art relating to the Sabbath is probably adequate. Overall, however, I would say that the author succeded in introducing the Sabbath, in all its richness and beauty, to the average non-Sabbatarian.
Book Description
This textbook presents the process of aircraft conceptual design as seen in industry aircraft design groups. It contains design methods, illustrations, tips, explanations and equations, and has extensive appendices with key data for design.
Customer Reviews:
Great Aircraft Design Resource.......2007-03-23
This is an interesting and enlightening book (or rather tome) on aircraft design by a very knowledgeable author who knows what to say and how to say it. This is among the best books on the market dealing with aircraft design and is well written in a clear and easy to understand and follow format for those studying aeronautical engineering and design. It is also an excellent reference guide for aircraft design professionals.
This is a comprehensive book covering all the major topics in aircraft design including mission definition, initial sizing, structural and aerodynamics design, weight estimation, configuration layout, performance analysis and estimates. The author reinforces his teaching with tips, illustrations, explanations and equations and provide essential data for aircraft design.
Overally, an excellent book that is well worth investing in.
Aircraft Design: A Conceptual Approach.......2007-02-15
5 Stars.
Aircraft Design: A Conceptual Approach, by Daniel P. Raymer, is an outstanding book on the aircraft design process. Well organized and well written, the book clearly defines the three principle stages of aircraft design, and covers the conceptual design stage at length.
Starting from the aircraft mission definition, Raymer presents a rational, methodical approach to aircraft design. Emphasis is placed on sizing, weight estimation, and early handling and performance estimates. This approach is supported with historical and statistical data summarizing trends in previous successful designs (and a few failed ones).
Although the book includes effective overviews of aerodynamics, stability and control, and structural analysis, the nitty-gritty details of these subjects are left -- as they should be -- for more specialized texts. The focus of this text (as it should be) is entirely on design, with particular emphasis on conceptual design. Preliminary and detailed design are touched upon, but largely left for other texts.
Overall, this is a great book for aeronautical/aerospace students and practitioners alike.
Awesome Airplane Design Reference.......2006-10-16
One of the best airplane design books out there. I rank it with Torenbeek and Roskam. I refer to it during my design studies. My students use it also.
Great book.......2006-10-11
I'm a second-year aerospace engineering student and after searching for books that would tell me exactly why I'm learning what I am, this one was recommended to me. The author explains how and why designers do what they do, and even has a handwritten design example in the back. I bought the RDS software with this book, and am still figuring it out. If you do get the RDS, don't expect a Windows interface. Think DOS. At least it's not a system hog.
Necessary Starting Point to Understanding Aircraft Design .......2005-11-14
This is an excellent, and for the time being the authoratative, book about aircraft design. For anyone who wants to become an aerospace engineer reading a book like this should put any type of work they'll do in the proper context.
The best part of this book is that it is split into two halves. The frist half talks specifically about aircraft design from a practical level, covering topics like wing planform selection, thrust to weight and wing loading determination, engine sizing, landing gear configuraiton, etc. This is the applied, design oriented type of knowledge and thinking that all engineers need and is unfortunately not being taught by most schools, albeit it is of course specific to aircraft. (My college had just one ten week aircraft design course over an entire four year curriculum. The course was offered in two sections. Only one of the sections even had this book on the reading list, and then didn't even use it in class!) The second half delves into the analytical methods that are used to "size" different parts of the aircraft, such as methods to predict drag (for engine thrust in cruise), to predict downwash both subsonically and supersonically (effects total lift and stability and control), to determine rough sizes of beam and torsion members of the structure, to size the control surfaces for stability and control, etc. There's also a good interlude where the author gives us a step-by-step example of how you could do conceptual design. (This is not the ONLY way to do conceptual design, but it's important to have SOME method and this is a great introduction to one.) It also has two good example designs in the appendix, plus LOTS of good reference data throughout the book.
This is the type of book that should be read first by anyone involved with aircraft design and/or research and development so that they can understand the big picture framework of how aircraft are generally configured.
Average customer rating:
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Christo & Jeanne-Claude: Wrapped Reichstag, Berlin, 1971-1995 (Jumbo Series)
Christo ,
David Bourdon , and
Jeanne-Claude
Manufacturer: Benedikt Taschen Verlag
ProductGroup: Book
Binding: Hardcover
 General
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| Arts & Photography
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European
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| Artists, A-Z
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ASIN: 3822886378 |
Book Description
Thomas Pynchon’s Gravity’s Rainbow (1973), set in an alternative-universe version of World War II, has been called a modern Finnegan’s Wake for its challenging language, wild anachronisms, hallucinatory happenings, and fever-dream imagery. With Pictures Showing What Happens on Each Page of Thomas Pynchon's Novel Gravity's Rainbow, artist Zak Smith at once eases and expands readers’ experience of the book. A leading exponent of punk-based, DIY art, Smith here presents his most ambitious project to date — an art book exactly as long as the work it’s interpreting: 760 drawings, paintings, photos, and less definable images in 760 pages. Extraordinary tableaux of the detritus of war — a burned-out Königstiger tank, a melted machine gun — coexist alongside such phantasmagoric Pynchon inventions as the “stumbling bird” and “Girgori the octopus.” Smith has stated his aim to be “as literal as possible” in interpreting Gravity’s Rainbow, but his images are as imaginative and powerfully unique as the prose they honor.
Customer Reviews:
like looking at the Grand Canyon for the first time.......2007-08-15
I just saw the Zak Smith exhibit at the Walker Art Center in Minn. where I had gone to see the "Picasso in America". But this Gravity's Rainbow page-by-page is, by far, the reason to go to the Walker right now. Mindboggling. Buy the book and picture each page lined up like a grid covering an entire wall. The Pynchon book is quite challenging to read so try to imagine Zak Smith capturing the concept of each and every page with a drawing or picture. Number 404 looks like an inch thick melted white plastic mess--does anyone know what happened in the book on this page? I noticed that one of the "tags" for this product is "genius." Believe it.
And If You Think The Book Is Great...........2007-06-05
If you live anywhere near Minneapolis get yourself over to the Walker Art Center, where every single one of Zak Smith's drawings/paintings/sculptures (yes, some are three dimensional) for this project are displayed on one wall. (All are in the permanent collection of the Walker.) How do I know it's all 750+ artworks? Because I counted. 45 columns by 17 rows. You could spend hours staring at them and not exhaust this monumental project. I'm not sure how long they'll remain on display so don't put it off.
Buy it..........2007-03-28
Zak Smith a genious, and this book the best.
if you like concept ilustration, you'll love it...
and the prize it's great!
Overwhelming .......2007-01-18
I am at a loss for words.
It's one of the most beautiful things i've seen in years.
Customer Reviews:
Great drawing instructional book.......2007-06-26
With no formal instruction in drawing, I've had to learn the basics on my own and this book beautifully explains and illustrates perspective in drawing. It is great for beginners with exercises to help you grasp the concept. I would probably still be muddling around making the same mistakes without the help and guidance of this book.
Brilliant! Brilliant! Brilliant!.......2007-03-10
This book really is helping me to understand perspective. As an aspiring artist I had not a clue. I don't come from a background of having taken art classes all of my life so a lot of things did not make sense to me. My professor suggests this book from her syllabus and I have to say what a jewel it has been for me. I highly recommend this book if you are learning to draw as part of your library.
For the serious amateur doodler.......2006-02-25
Are you a serious amateur doodler? Want to take your idle doodling to the next level? Add some perspective and dimension. Dare to leave your next doodle behind for some one to find and marvel at. (go ahead and sign it so they can find you)
Why didn't I find this book sooner?.......2004-01-30
All of my adult life I've struggled with perspective drawing and I was determined to find a better way to teach my architecture students a method that didn't get hung up on technicalities. Using the exercises and examples provided in this book, my students' drawings skills have improved dramatically in one term. I highly recommend this book to anyone who has always wanted to learn the "mysteries" of perspective sketching.
Presented pain free.......2002-03-11
Drawing is the basis of making good art and perspective is the basis of good drawing. Phil Metzger presents the means for making perspectively correct drawings. Yes, it's without "pain" because the mathematics of perspective is not presented; but, to get it right the "pain" is in the practice. Where it should be.
Average customer rating:
- Amazing photos - great complement to the DVD "Rivers and Tides"
- Nature inspiration
- What a work of creative and artistic genius!
- Another superb look at Andy Goldsworthy's ephemeral art
- Mature Work by a Great Artist
|
Time
Andy Goldsworthy
Manufacturer: Harry N. Abrams
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Binding: Hardcover
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Similar Items:
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Andy Goldsworthy: A Collaboration with Nature
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Passage
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Andy Goldsworthy's Rivers & Tides
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Stone
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Wood
ASIN: 0810944820 |
Amazon.com
Whether measured in minutes or eons, time is a good friend of British artist Andy Goldsworthy's. He spends long, solitary days outdoors in all kinds of weather, doing things like piecing together many, many yellow leaves to create a brilliant band of color at a river's edge in upstate New York or stacking small pieces of ice on the Nova Scotia coast to build a sculpture in the compact shape of an ancient stone monument. Threatened by a strong gust of wind, the incoming tide, or a sudden rise in temperature, these are fugitive works comfortably in synch with the natural rhythms of growth and decay.
Other works of his are longer-lasting. In walls made of stacked stones with hollowed-out oval "chambers" the size of his body--which he began building in 1999 in Lancashire, England--Goldsworthy makes reference not only to the shapes of graves in a nearby church but also to his personal history in the region and the enduring qualities of a rugged landscape.
Goldsworthy is the rare artist who can describe what he does in simple, concrete terms that nonetheless reveal his larger vision. Time is a very satisfying collection of 500 photographs, nearly all taken by him, that document the creation and subsequent mutations of his work. These evocative images are illuminated by excerpts from the diaries he kept as he created five projects in Europe and North America in the '90s. He discusses what it's like to explore an unfamiliar landscape, assess how the elements will work for and against him, and perform what are essentially a set of experiments. Success means making work that is, as he writes, "completely welded to its site." --Cathy Curtis
Book Description
In his first major book in four years, internationally acclaimed artist Andy Goldsworthy presents a wealth of new work informed by the passage of time. Goldsworthy, who works with stone, leaves, grass, branches, snow, and other natural materials to create intensely personal artworks, uses time almost as a medium in his art: on a snow-covered Scottish hillside a huge rectangle of compacted snow becomes ever more visible as the surrounding snow melts away; clay walls dry out and crack, revealing previously invisible forms embedded within them; a sculpture of re-formed icicles is made to catch the morning sunshine. In the spectacular color photographs seen here, Goldsworthy celebrates the many ways his art is about, or evokes, the passage of time.
Presenting exciting works not seen in previous books, along with revealing excerpts from Goldsworthy's working diaries, this perceptive overview-which includes an extensive illustrated chronology by Terry Friedman-will become the definitive reference on Goldsworthy's art.
ANDY GOLDSWORTHY's books include Abrams' Stone, Wood, Arch, Wall, Hand to Earth, and Andy Goldsworthy: A Collaboration with Nature. His work is regularly exhibited in Britain, France, Japan, and the United States. This new book comes in the same year that his first permanent installation in an American museum, at Storm King Art Center in Mountainville, New York, has its official unveiling. Goldsworthy lives with his family in Scotland.
TERRY FRIEDMAN is an architectural historian who curated the first major retrospective of Goldsworthy's work.
"Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work." -Andy Goldsworthy
More than 250 photographs in full color, 111/2 x 10"
Customer Reviews:
Amazing photos - great complement to the DVD "Rivers and Tides".......2007-05-11
I had viewed the DVD "Rivers and Tides" which is a tour of Andy Goldsworthy's artistic endeavors. It is very compelling and left a lasting impression. I wanted more and discovered, to my delight, that a large number of Andy's creations shown in the DVD were documented in the book "Time". There had to be photographs of Andy's work since most of them are not permanent in either time or space. In the DVD, we see the creation process as it occurs and then it may dissolve or move. In the book, it is "frozen" in time and space and can be appreciated as a work of art. I recommend seeing the DVD first so the book's contents can be appreciated even more.
Nature inspiration.......2006-08-10
Andy Goldsworthy's work inspires me to look at nature in a very deep way.
His use of the environment and natural materials provokes me to look at how I can
incorporate more natural materials into my own work. I am in awe everytime I open up the book and look at the images. I especially like red clay and the way it went through it's own process through time.
a gem, a timeless exploration of our natural world!
What a work of creative and artistic genius!.......2003-04-18
What a work of creative and artistic genius!
What to say about such an amazing work? For the first few times I
mainly absorbed the photos of his works, with only reading the
little captions and it wiped me off my feet. After a few rounds
of these I decided to read all of the writing in the book that
accompany the works he made and it totally blew me away. This
book has definitely altered something deep inside about the way
Ilook at nature, change, the seasons and time in general.
Time, as the title of the book suggests is the main topic of the
book and Andy Goldsworthy's art in general or at least his
approach and intention towards it. The body of work presented in
numerous photos and with corresponding writing in the form of a
journal covers the whole range Goldsworthy's work. For example
works made from stone, wood, leaves, snow, ice,...
As a result it gives an excellent overview and introduction of
his work and via the numerous writings a very deep, personal and
detailed insight into how he approaches different places, how he
reacts to change and works with the weather. The writing is on
par with his work. Very clear, direct, honest and poetic.
His insight into the concepts of time and change and seasons and
nature is truly breath taking. The introduction he wrote for the
book is a wonderful example illustrating this. Part of it can be
read by using the "Look inside the book" feature of Amazon.
Spending time with this book really cracks ones mind wide open
about time, change, nature and seasons and how to look at it and
perceive it.
And honestly I don't know what's more amazing. These amazing
and unbelievable pieces of art. Or the incredibly crisp and poetic
writing, deepening so much ones understanding of the works and
give insight into Goldsworthys view and approach and thoughts. Or
simply that out there somewhere a human being is walking this
earth with such an amazing understanding of time and nature and
able to transform this into amazing art an writing.
If the idea of Goldsworthys work is for him to work with time and
change and nature and to further his awareness of these concepts
and make sense of them in the most beautiful way then that is
exactly what this book excells marvelously at for the reader.
Another superb look at Andy Goldsworthy's ephemeral art.......2002-09-04
Andy Goldsworthy's artwork is utterly ephemeral and fleeting, and perhaps because of this, utterly transfixing. There is something of the ancients in the way Goldsworthy puts together stone, or wood, or leaves--or even in the way he lays himself down on a dry patch of ground in the rain so that when he gets up, we see a sort of reverse shadow of his body. There is an astonishing intellect at work here, and a soul which sees the value in what some art snobs might term "mere beauty."
Goldsworthy's many mediums are covered in "Time," which features sumptuous photography by Terry Friedman. We see perfectly constructed stone cairns--some pyramidal, some only half done and all the more startling for what isn't there as for what is. We see ruddy sandstone arches four times the height of a man. But Goldsworthy's most consistently inviting work is done not in stone, but in the ephemera nature leaves for him everywhere he looks. Goldsworthy's work is sometimes so fleeting as to question the very nature of whether it constitutes art when it lasts only minutes or hours. The frost shadows, for instance, are simply photographs of the still-iced patches of grass over which Goldsworthy stood in the early morning, then stepped aside so that a photograph could be taken. Of course these are gone within minutes as the sun warms the now-exposed grass. Is this art? Merely the fact that you question it shows your engagement with the work--Goldsworthy fosters a kind of subtle dialogue between reader and artist and the dialogue is consistently engaging. Another heat-destroyed piece is the thinnest imaginable sheet of ice, laid against a moss-covered rock, and Goldsworthy's handprint visible on it. As it thawed, it buckled and disappeared and we see its disappearance in the photographs. It's lovely, it's witty and it is, improbably art.
Other things disappear, too, but not from the sun's warmth. There is a "stick hole" Goldsworthy built early one spring which he and Friedman came back to photograph throughout the summer until the final photograph shows it utterly covered with the lacy ferns which grew up around it. There are the perfectly circular or perfectly ovoid leaf rafts Goldsworthy stitches together, then sends on their way down a meandering stream, having their path photographed before they disappear. There are the piled of rocks he constructs leading into the ocean so that the tides swallow them up--each stage meticulously recorded on film.
Perhaps the most transformative art in the book is the mud wall displayed on the cover. Goldsworthy applied mud to walls and floor in such a way that when the mud cracked and dried, it showed the meandering, snakelike pattern he'd put into it. It has become something entirely different solely through the passage of time. This book is filled with surprises and delights, and will have you utterly absorbed, charmed, and astonished. I can't recommend it highly enough.
Mature Work by a Great Artist.......2001-10-09
This is perhaps Goldsworthy's most elegiac and moving book, a profound meditation on time and change. If you like his work, you won't be disappointed. This volume and "A Collaboration with Nature" are wonderful and permanent sources of inspiration.
Book Description
Complete coverage of basic design principles illustrated by student examples
Design for Communication offers a unique approach to mastering the basic design principles, conceptual problem-solving methods, and critical-thinking skills that distinguish graphic designers from desktop technicians.
This book presents forty-two basic to advanced graphic design and typography assignments collaboratively written by college educators to teach the fundamental processes, concepts, and techniques through hands-on applications. Each assignment is illustrated with actual student solutions, and each includes a process narrative and an educator's critical analysis revealing the reasoning behind the creative strategies employed by each individual student solution.
Assignments are organized from basic to advanced within six sections:
* The elements and principles of design
* Typography as image
* Creative word play
* Word and image
* Grid and visual hierarchy
* Visual advocacy
Design for Communication is a highly visual resource of instruction, information, ideas, and inspiration for students and professionals.
Customer Reviews:
Advanced "homework".......2007-06-08
I am just starting out in graphic design and this book, though interesting, is very hard for me to grasp at this time. I think I will really enjoy doing the instructionals as I learn more about design though. I tried a few of the exercises and (for me) they are hard to do right now.
This work contributes to graphic design education.......2004-01-22
This review was sent to me by a colleague.
"I am particularly impressed with the strength of the sections and introductory texts for each section. It is very cleverly planned and well written. More importantly, the strength of the book for me lies on the fact that the assignments do not illustrate but on the contrary, strengthens your observations, aims/objectives, methodology, structure and propositions for the design education.
The book is also in excellent record of what goes on in design colleges in terms of methods of working (to record students statements and instructors evaluations is, on its own right, a great contribution to knowledge within the design education). The interaction between students statements and instructors evaluations are very important for me. The two different texts create a dialogue within the book.
The book brings theory and practice together for the students and educators which is very rare in design publication and education and even more so at the BA/ undergraduate level.
Thank you for your great work!"
A Unique Approach to Graphic Design Education.......2003-07-10
Professor Resnick's new text, Graphic Design for Communication offers a fresh, innovative approach to teaching visual communication in general and graphic design in particular. She presents many conceptual design principles in a format that is easy-to-understand, practical, and clear in its organizational hierarchy. The book provides intelligent, pragmatic lessons about design that will be of use to both students and teachers alike.
The book's most notable strength lies in its author's unique approach to the subject matter. In the past, most authors have tackled the task of writing an instructional text on design by focusing on a few basic principles of the craft and supplementing these with exercises designed to impart specific skills and techniques to the reader. In contrast, Resnick has employed a far more inclusive, conceptually focused approach. Like her peers, as an educator she does offer text that presents her perspective on various basic design principles. Yet unlike many others her focus is clearly on the reason we design-namely to effectively express and communicate ideas. And again unlike some other texts, ideas about BOTH form and content are give their due here. The different principles explored each section are illuminated with appropriate exercises. This is where Resnick's book shines as a unique accomplishment. For her illustrative exercises, Resnick invited a remarkable group of international educators to work with her as collaborators. All were invited to submit their best assignments along with student work for inclusion. In this respect, Graphic Design for Communication is unlike most other texts because it offers an inclusive diversity of approaches to design and will certainly be a great tool for educators. As a text for use at all levels of instruction, it offers the best, "road-tested", assignments for lecturers to draw upon as inspiration when explaining the principles of design to students. The numerous exercises impart information in a manner that is at once both practical and conceptually expressive.
Graphic Design for Communication features a structure that is pragmatic and clear. Each section opens with a well-written, articulate introduction to a different design principle (e.g., basic elements of design; typography as both image and semiotic message; word and image relationships; the grid and visual hierarchy; and visual advocacy). This text is followed by a series of design assignments (from basic to advanced) that teach students how to effectively integrate ideas with various techniques and processes. The design exercises are amply illustrated with examples of real student work completed in response to the assignments. In addition, most of the student samples include a brief process statement from the student as well as a critical instructor evaluation. As another reviewer pointed out, students will certainly appreciate the many illustrations (some in color) and the opportunity to examine both the process and critical evaluation of peer work outside the classroom. By using student work for examples (as opposed to those created by master designers), Resnick succeeds in bringing both the assignments and the creative design process to life.
Because of the great range of exercises included, this text will serve both students and educators as a useful handbook. For anyone who has either audited a class or wished they could have, the book is a joy. It is a little like auditing the "best of" graphic design education-all the more rewarding because the author was enlightened enough to collect some assignments and visual examples from cultures outside the U.S.
Professor Resnick deserves special credit for her concise editing and clean layout. I suspect one of the challenges in a compilation of this sort had to be the careful editing of her collaborator's assignments. It would appear that she did not just leave them to their own devices in this regard. Rather, as an educator herself she has thoughtfully and carefully applied her writing skills to the task. The result is a well-considered, consistent survey of the principles that guide modern graphic design. In addition, I must add that her bibliography is outstanding. It should be adopted as a standard reading list for anyone interested in the field.
As with the very best cookbooks (I am thinking of the classics here, such as Rombauer and Becker's Joy of Cooking or Julia Child's Mastering the Art of French Cooking) this book will find a place in the libraries of both novices and experienced students of design. Like those texts, it effectively explains the important principles that guide all design work. Her decision to present contemporary master "recipes" (those proven to work in the classroom) introduces students to design as a thoughtful "process" without forfeiting any artistry or pleasure along the way. It is clear that Professor Resnick is passionate about her work as BOTH a designer and educator and in this book she she shares that pleasure with us, the reader.
Design for Communication: Conceptual Graphic Design Basics.......2003-06-17
This new book, like Elizabeth Resnick's earlier one (Graphic Design: A Problem-Solving Approach to Visual Communication), that was published in the early '80s, has a generous amount of student work on its pages, providing the reader with some wonderful and useful examples of solutions to the problems presented. There's even a section with some of these shown in full color!
When Ms. Resnick wrote her first book, no graphic design was being done on a computer. This current text, published now that we're fully into the digital age, also very wisely steers clear of a "how to" approach. It's all too easy for students starting out in graphic design now to think that it's about "how to use QuarkXPress" or some other software package, but Resnick's book stresses concepts, communication, and the art of creating fresh and thoughtful solutions to design problems. It will help students to learn the importance of research, and how to develop the analytical and conceptual skills they will need as professional designers later on.
The idea of using quality student work as a teaching tool is a very good one. It results in a book that is much more appealing to the student. Each solution has a statement by its creator as well as the instructor's feedback. I think students will find the author's approach to the subject fresh, direct, and very accessible. The presentation of each problem consists of: the Assignment Brief, Objectives, Specifications, Process, and Critiques. This results in a very clear, useful, and well-structured text. I highly recommend this book!
Finally, a graphic design text with depth.......2003-06-07
There are so many books out there on graphic design that are merely pretty picture books, and focus only on what a piece LOOKS like. What students need is something with depth, something that addresses the conceptual aspects that can be so difficult to grasp.
Resnick's book really targets this need, by presenting an integration of formal and conceptual issues and respecting the students' intelligence in the process. It shows them how FORM influences and strengthens CONCEPT, which I haven't seen in any other text. This is one of the most important (and elusive) issues in graphic design education.
The book is illustrated entirely with student work, all high quality. Students will love this approach; they are used to being shown only the work of experienced professionals.
The book is also going to be really useful for instructors
who want to improve the rigor and depth of their assignments but aren't sure how to go about it.
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